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Pierre Dubreuil, Untitled, from Alternation, 1946 (after)1946
1946
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About the Item
This exquisite etching after Pierre Dubreuil (1872–1944), titled Sans titre (Untitled), from the album Alternance (Alternation), originates from the 1946 edition published by Le Gerbier, Paris, and printed by atelier Quesneville, Paris, March 2, 1946. The work embodies Dubreuil's mastery of tonal contrast, geometric refinement, and experimental visual structure, distilling the bold formal innovation and conceptual rigor that define his contribution to early modern photographic and graphic expression.
Executed as an etching on velin de Rives paper, this work measures 12.88 x 9.88 inches (32.7 x 25.1 cm). Signed in the plate and unnumbered, as issued. The edition exemplifies the refined craftsmanship of atelier Quesneville, Paris.
Artwork Details:
Artist: After Pierre Dubreuil (1872–1944)
Title: Sans titre (Untitled), from the album Alternance (Alternation)
Medium: Etching on velin de Rives paper
Dimensions: 12.88 x 9.88 inches (32.7 x 25.1 cm)
Inscription: Signed in the plate and unnumbered, as issued
Date: 1946
Publisher: Le Gerbier, Paris
Printer: atelier Quesneville, Paris
Condition: Well preserved, consistent with age and medium
Provenance: From the album Alternance (Alternation), published by Le Gerbier, Paris; printed by atelier Quesneville, Paris, March 2, 1946
Notes:
Excerpted from the folio (translated from French), Printing was finished on March 2, 1946 on the presses of atelier Quesneville for thirteen etchings; on the presses of Lacouriere for the etchings by Henri Matisse and Dignimont; the etching of J.G. Daragnes was engraved by himself; the typography, which is composed of Garamond was printed on the presses of the Master Printer, G. Girard. This collection of sixteen original etchings, alternating with sixteen unpublished writings, CCC examples have been drawn, including XXXVIII on Monival and hand numbered from I to XXXVIII; and, CCLXII on Rives BFK, numbered from XXXIX to CCC. XL examples have been drawn for hors commerce on Lana a la forme have been numbered form of I to XL.
About the Publication:
Alternance (Alternation), published in 1946 by Le Gerbier, stands as a significant postwar livre d'artiste uniting sixteen original etchings with sixteen unpublished literary texts. Produced with exceptional attention to etching technique, paper selection, and typographic refinement, the album reflects the collaborative vitality of mid-century French printmaking. Printed across several fine papers—including Monival, Rives BFK, and Lana a la forme—the edition embodies the craft traditions of atelier Quesneville, Lacouriere, and the presses of G. Girard, preserving a moment of rich artistic exchange in the years immediately following World War II.
About the Artist:
Pierre Dubreuil (1872–1944) was a pioneering French photographer whose daring originality, intellectual rigor, and relentless pursuit of formal innovation positioned him as one of the most visionary, influential, and unjustly overlooked figures in early modern photography, helping to shape the visual foundations upon which twentieth-century image culture would be built. Working in the same revolutionary cultural atmosphere that produced Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Dubreuil forged a radical photographic language defined by geometric distortion, unconventional angles, sharply architectural compositions, dramatic tonal contrasts, and early experiments with solarization and optical manipulation—years before such techniques became hallmarks of the avant-garde. Although initially associated with the pictorialist traditions of Robert Demachy, Edward Steichen, and Alfred Stieglitz, he quickly broke from their soft-focus romanticism, embracing instead the hard-edged clarity and machine-age dynamism that aligned his work with the emerging aesthetics of Cubism, Futurism, and Surrealism. A celebrated member of the Linked Ring Brotherhood and a driving force in the French and Belgian photographic scene, he exhibited widely before World War I and earned acclaim for images that treated the camera not as a passive recorder but as an instrument of deliberate abstraction, invention, and conceptual provocation. His photographs—defined by masterful control of shadow, structure, rhythm, and negative space—anticipated the work of Laszlo Moholy-Nagy, Man Ray, Harry Callahan, Aaron Siskind, and other later photographers whose practices revolve around experimental form and visual perception. Though much of his archive was scattered or lost during the upheavals of two world wars, Dubreuil's dramatic late twentieth-century rediscovery sparked a major scholarly reevaluation, with museums, historians, and collectors now recognizing him as a crucial innovator whose bold interventions helped establish the foundations of modern photographic art. His rare surviving prints continue to command intense institutional and market interest, and the highest auction record for Pierre Dubreuil was achieved at Sotheby's New York on April 7, 2008, when his photograph The First Round (1929) sold for 266,500 USD, cementing his status as one of the most important and sought-after early modern photographers.
Pierre Dubreuil Sans titre Alternance 1946, Dubreuil etching, Dubreuil velin de Rives, Dubreuil collectible print.
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